Erich

Wolgang Korngold (1897-1957)

Violin Concerto

A clear understanding of Erich Korngold comes magically into focus when one acknowledges the
profound similarities with Gustav Mahler. This prolific prodigy, composer, arranger, and conductor, like
Mahler before him, did it all. Korngold was born in Brno, in modern day Czechoslovakia - a German
influenced city of the Austro-Hapsburg empire, much like near by Iglau had been for Mahler. Both of
them were born into Jewish families, struggling with their familial roots and the confusing national
identity of the region. The two are inextricably linked to this formative soil, and in the very rich artistic
environment of 1875-1925. Though not exact contemporaries they did meet, a young Erich was
introduced by his father to Gustav in 1906 the latter at his zenith within Viennese music circles and the
former being heralded as the next genius. The adopted Viennese pedigree of both composers
permeates their world view and their music, but Korngolds acceptance in Vienna was much less
complicated than Mahlers.

Dr. Julius Korngold, Erichs father had stepped into the shoes of the fabled Edouard Hanslick, the great
critic of the Neue Freie Press ( New Free Press). The ins and outs of Viennese musical circles were not a
closed door at all as they had been for Mahler. After being duly impressed with the young boy,
Mahler suggested that Alexander von Zemlinsky be Korngolds teacher, which though there were other
influences, remained the only official teacher/pupil relationship, and it didnt last very long. Julius, in
his connected position was also able to privately publish three very early works in 1909 - with Erich at
the ripe old age of 12. These works, a ballet called Der Schneeman (the Snowman), a sketch on Don
Quixote and a D minor Piano Sonata, were sent around to several musical luminaries, among them the
great conductor, Arthur Nikisch; the great choral conductor and academic Hermann Kretzschmarr; and
the composers Engelbert Humperdinck and Richard Strauss. All of them found the works far advanced
for a boy of twelve and Strauss commented on the bold use of harmony and assurance of style.

This kind of endorsement led, as one might think, to early and richly deserved glory. The Snowman was
extremely successful and was produced by 1910. Arthur Nickisch had taken up the supportive mantle,
conducting Korngolds Schauspiel Overture , and his Sinfonietta with the Leipzig Gewandhaus and his
newly written Piano Trio was making the rounds and wildly impressing heavy weights like Arthur
Schnabel, who also began to champion his music. By his 19th birthday in 1916 he had established
himself as a fine opera composer, with two enormously successful one act operas, the Ring of
Polycrates and Violanta. Shortly after he turned his hand to a Shakespearian adaptation, Much ado
about nothing, and followed it with one of his great triumphs, Die Tote Stadt.

Korngold became General Musikdirektor at the Stadttheater in Hamburg. Interestingly, Mahler had a
spent a very formative stint in the same position, and both men gain immensely in their musical
perspectives; their business and management sense of running a theatre; and immersing themselves in
musical performances that could be stamped with their own personalities. In 1927 his Wunder der
Heliane, considered one of his most important works, didnt receive the usual accolades from the
Viennese public. Despite a stellar cast with Lotte Lehmann and Jan Kiepura in leading roles, the
Viennese, fickle and searching for the newer fad, were opting for a different style which they found in
the music of Krenek. Undaunted, Korngold continued on, establishing himself as a professor in Vienna,
and in 1929 collaborated on a new production of Die Fledermaus for Berlin, with none other than Max
Reinhardt. This was to usher in an entirely new period in Korngolds life, and perhaps the one for
which he is fted and remembered the most, for it was Max Reinhardt who invited him to Hollywood to
score A Midsummer Nights Dream, launching a spectacular association with the Hollywood Film
Industry.

His original score for Captain Blood in 1935 helped launch the career of Errol Flynn, and 1936 brought an
Oscar win for his score Anthony Adverse. The Nazi occupation of Austria in the Anschluss took even the
Viennese by surprise, but luckily for the Korngolds, the family was able to move to California, escaping
the terror that was to ensue in Europe for prominent Jewish families. Korngold refused to write any
major works or operas in this period, vowing to continue his self-imposed moratorium until Hitler was
removed from power. For the next decade Korngold continued to write prolifically for the film
industry, writing the scores for The Prince and the Pauper, The Sea Hawk, The Sea Wolf, The Kings Row,
and Deception. All these scores are similar in nature, in that they reflect not only the composers keen
sense of drama, but follow the Wagnerian precept of leitmotifs, often creating the drama in the film,
and not just supporting it.

At the close of hostilities in 1945 the way was open for Korngold to return to writing, and the two works
that emerge from this period are the Violin Concerto and the Cello Concerto. By contractual seal with
Warner Bros., Korngold was bound to use motifs that had appeared in his film scores, and both concerti
display not only those arching melodies, but are coupled with a sense of descriptive writing that follows
on from that genre. The violin concerto was premiered by Jascha Heifetz on February 15, 1947 to great
public acclaim in St. Louis, and then repeated that year in a recorded performance in Carnegie Hall with
the New York Philharmonic. Korngold referred to his violin concerto as technically demanding, but also
extremely melodic, requiring more of a Caruso touch than a Paganini. Commenting on the Heifetz
rendition he wrote:
needless to say how delighted how I am to have my concerto performed by Caruso and Paganini in
one person: Jascha Heifetz.

Heifetzs fine performance of the Violin Concerto and the accessibility of all the film scores, make them
Korngolds most popular works to date, but closer review of other major works, show a prolific and
masterly composer that deserves more recognition than the Hollywood stigma allows.

Zane Dalal 2013